Portrait of Jacqueline, 1962 (B.1065)  by Pablo Picasso
Portrait of Jacqueline, 1962 (B.1065)  by Pablo Picasso detail
Portrait of Jacqueline, 1962 (B.1065)  by Pablo Picasso signature
Portrait of Jacqueline, 1962 (B.1065)  by Pablo Picasso framed
Portrait of Jacqueline, 1962 (B.1065)  by Pablo Picasso detail corner

Portrait of Jacqueline (B.1065), 1962

Medium: hand-signed linocut
Signature: signed 'Picasso' lower right and annotated lower left
Framed size: 46 x 41.5"
Price on Request
Details
Medium: hand-signed linocut
Year: 1962
Edition: 71

Sheet size: 29.43 x 24.18"
Image size: 25.25 x 20.75"
Framed size: 46 x 41.5"

Signature: signed 'Picasso' lower right and annotated lower left
Reference:
Bloch 1065; Baer 1285

Literature:
Baer, B. Picasso Peintre-Graveur: Tome V - Catalogue Raisonné de l’œuvre Gravé et Des Monotypes 1959-1965. Galerie Kornfeld, Berne, 1989. pgs. 372-373. no.1285
Bloch, G. Pablo Picasso: Tome I – Catalogue de l’œuvre grave et lithographié 1904-1967. Galerie Kornfeld & Cie., Berne, 1998. pg. 224, no. 1065.


About the Work

"Portrait of Jacqueline (B.1065)" is a linocut created by Pablo Picasso in 1962. From the edition of 71, the artwork is signed 'Picasso' lower right and annotates lower left. The image size is 25.25 x 20.75" and the artwork is framed in a Spanish-style, closed-corner, black and gold frame. The artwork ships framed and is accompanied by a certificate of authenticity.

Picasso was a master in the art of all media, but nothing is more distinctive to his identity than the print making process known as linocut. This is a relief media, akin to woodcut, but using linoleum. Normally, in multi-color works, multiple plates are used, one for each color. However, Picasso was an endless innovator. He came up with a way to generate overlaid colors from a single cutaway plate. The first imprint was solid, usually comprising the background. Each successive series of cutaway’s produced more of a void, so the prior layer could show through. Each new visit to the plate yielded the possibility of another color. No one had thought of anything like this before him. Picasso’s final muse, and second wife, Jacqueline, became the iconic emblem of Picasso’s concept of feminine beauty. Her long black hair, one her most memorable features, is the topic here in one of his most characteristic portraits.

About the Artist

Pablo Picasso (1881 – 1973), the towering figure of 20th-century art, was also one of history’s most inventive printmakers. Across more than 2,400 graphic works, he transformed etching, aquatint, lithography, and linocut into vehicles for boundless experimentation. From the natural elegance of Histoire Naturelle to the bullfighting drama of La Tauromaquia, and from the mythic imagery of the Vollard Suite to the theatrical eroticism of the 347 Series and La Célestine, Picasso used serial print portfolios to chart his themes of love, metamorphosis, and the artist–model dialogue.
In Vallauris, with printer Hidalgo Arnéra, he revolutionized the linocut process, pushing the reduction method to dazzling technical and chromatic heights. For today’s collectors, Picasso’s prints offer both intimate access to his hand and enduring museum-level significance, works of immediate graphic vitality that remain cornerstones of modern art.

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